1

The

V. Sarajishvili

Tbilisi State

Conservatoire

International

Research

Center for

Traditional

Polyphony

B U L L E T I N

Tbilisi. June, 2014

#16

The News

Ethnomusicological life in Georgia

Renowed Foreign Ethnomusicologists

Simha Arom

Renowed Georgian Ethnomusicologists

Shalva Mshvelidze

In Memory of Kukuri Chokhonelidze

Foreign musical folklore

Trallalero – Genoan polyphony

One Georgian Folk Ensemble

“Sakhioba”

Beneficents of Georgian Song

The Kavsadzes

One foreign folk ensemble

Chu-Yin Culture and Arts Troupe

The Centres of Georgian Science and Culture

State Silk Museum

Foreign Performers of Georgian Folk Song

Trio” Kavkasia” from America

“Anchiskhati Church Choir” in Poland

Ancient Georgian Folk Instruments

Santuri

About One Genre

Naduri songs

History of One Song

“Chochkhatura”

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The News

Georgia’s Ethnomuiscological Life

(January-June, 2014) Festivals and Conferences

26.04.2014 – Tbilisi State Conservatoire hosted the 5th

International Conference-Contest of Musicology Stu-

dents, which was closed by the solo concert of ensemble

“Didgori”

1-2.05.2014 – The 5th International Scientific Confer-

ence (Arts, Practice and Management) of Magistracy

and Doctoral Students was held at Ilia State University.

19-21.05.2014 – The 2nd

International Festival of Con-

temporary Music was held at Batumi State Art Teaching

University

28-29. 05.2014 – Batumi State Art Teaching University

hosted International Conference “Culture and Art: Tradi-

tion and Contemporaneity”

29.05.2014 – Georgian Folk Music Department of Tbi-

lisi State Conservatoire and Georgian national Commit-

tee of the International Council of Organizations of

Folklore Festivals (CIOFF) held the Conference of

Young Ethnomusicologists and folk music concert with

the participation of ensembles “Sathanao”, “Akhaluk-

hlebi”, “Adilei” and the Conservatoire students’ choir

CDs, work-shops, lectures, etc

27. 02.2014 – Chant choir “Aghsavali” organized the

presentation of their third CD

13.03.2014 – Charity lecture for the pupils of Blind

Children’s School 202 was held at the State Museum of

Georgian Folk Song and Musical Instruments

15.05.2014 –Tamaz Gabisonia’s public lecture “Per-

formance of Georgian Traditional Music – Modern

Standpoint” was held at Ilia State University

May, 2014 –Women singer-chanters’ group “Sathanao”

recorded the CD “The Prayers of Jesus the Sweet”

17.05.2014 – Lecture-concert “Folk Song in the Past and

Today” with Children’s Studio “Amer-Imeri” from

Tsnori

18.05.2014 – To the International Museum Day the State

Museum of Georgian Folk Song and Musical Instru-

ments dedicated the following events: Manana

Shilakadze’s memorial evening and meeting-concerts

with the pupils of the Children’s Studio of the Chok-

honelidze Sisters

22.05.2014 – The International Research Centre for Tra-

ditional Polyphony organized a Round Table Session

“Ethnomusicological-Anthropological Aspects of Ge-

orgian Folk Music”, with the participation of Georgian

scientists and Spanish ethnomusicologist Polo Vallejo

22.05.2014 – The exhibition of the State Museum of

Georgian Folk Song and Musical Instruments “Ethnog-

raphy and Georgian Instruments” was opened at Rustavi

Museum of History

28-30.05.2014 – Woman’s folk ensemble “Nanina” real-

ized the project “Creative Days in Achara” and as part of

the project held a solo concert at Batumi State Art

Teaching University, a work-shop for the music teachers

of secondary and public schools, and a meeting with

women’s folk ensemble “Iagundi” from Keda district

Dissertations

03.05.2014 – Teona Rukhadze defended Doctoral disser-

tation “Georgian Wedding Music – Issues of Genre and

Style” at Tbilisi State Conservatoire

20.06.2014 – Otar Kapanadze defended Doctoral disser-

tation “Georgian Round-Dance Songs (Peculiarities of

Musical Language)” at Tbilisi State Conservatoire

Expeditions

April,2014 – Ethnomusicological Department of Ilia

State University organized an expedition in the village

of Jarisheni Gori District (expedition members: Tamaz

Gabisonia, Malkhaz Razmadze, Liak Kadagishvili and

Zurab Tskrialashvili)

23-28.05.2014 – Giorgi Kraveishvili, 1st year Doctoral

student of Tbilisi State Conservatoire was in field expe-

dition in the village of Sarpi, Khelvachauri District and

Lazona in the cities of Findikli, Arhavi and Hopa, and in

the villages of Hopa District: Pironiti, Ortahopa and

Kemalpasha (other members of the expedition were

Tamaz Kraveishvili and Zurab Vanilishi)

23.06-3.07.2014 – Georgian Folk Music Department of

Tbilisi State Conservatoire organized an expedition in

Dedoflistsqaro District (expedition members: Natalia

Zumbadze, Ketevan Matiashvili, Giorgi Kraveishvili)

New Publications

“Tsitsinatela” published the book “Georgian Music”,

vol.27 from the series “Readings for the Youth” (Com-

piler-editor: Nino Makharadze- Kalandadze)

The International Centre for Georgian Folk Song and

Tbilisi State Conservatoire published the book “Geor-

gian Sacred Chant. Shemokmedi School” (compiler:

Davit Shughliashvili) /second edition

“Tsigni+Eri” published the 6th volume of the series

“Chveni Ghirsebani”, dedicated to Georgian traditional

art; the book is enclosed with audio and video material

on CD

Tbilisi State Conservatoire published the book “Gakh-

seneba” dedicated to Manana Andriadze’s memory (edi-

tor-compiler: Marina Kavtaradze)

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Concerts, Evenings

24.01.2014 – Ensemble “Dziriani” held a meeting-con-

cert at the music centre of Ilia State University

30.01.2014 – Concert Hall of I. Javakhishvili Tbilisi

State University hosted a charity concert “Lalkhor-

Voices for Mountains” in support of Khaishi village,

with the participation of ensembles “Anchiskhati”,

“Lagusheda”, “Aghsavali”, “Nanina”, “Dziriani”, “Sa-

thanao”, “Sakhioba”, “Jvaruli”, “Ialoni” and “Kviria”

30.01.2014 – Students ensemble of Ilia State University

held solo concert at the Concert Hall of the University

02.02.2014 – Concert of folk song and sacred chant

dedicated to St. Ekvtime Aghmsarebeli was held at V.

Sarajishvili Tbilisi State Conservatoire with the partici-

pation of ensembles: “Ialoni”, “Didgori”, “Aghsavali”,

“Patara Kakhi”, men choir of Gori Centre for Cultural

and Spiritual Education, male choir of Kaspi St. Vak-

htang Gorgasali Church

03.02.2014 – Ensemble “Mtiebi” held folk evening

“Zari” at the Grand Hall of Tbilisi Rustaveli Theatre

01.03.2014 – Solo concert and presentation of a new CD

of ensemble “Kartuli Khmebi” at Tbilisi Concert Hall

09.03.2014 – Female singer-chanters’ group “Sathanao”

held solo concert at the Recital Hall of Tbilisi State Con-

servatoire

18.05.2014 – Musical evening dedicated to the opening

of the renewed exposition of the Georgian Museum of

Folk and Applied Arts was held as part of the week of

World Museum Day

01.06.2014 – Concert of children’s folk ensembles

“Kirialesa” and “Akriani” was dedicated to International

Children’s Day at the State Museum of Georgian Folk

Song and Musical Instruments

05.06.2014 – The patriarchal choir of the Holy Trini-

ty Church in Tbilisi held a solo concert in the Jan-

sugh Kakihdze Musical-Cultural Centre of Tbilisi

Concert Tours

14.01.2014 – The Patriarchal Choir of the Holy Trinity

Church in Tbilisi held a solo concert in the concert hall

of the “International Music House” in Moscow,

performing Georgian folk songs, church chants and

choral works of contemporary Georgian composers.

23.04-02.05.2014 – “Anchiskhati Church Choir” was on

a concert tour in Poland.

27.04-11.05.2014 –Ensemble “Sakhioba” held about 10

concerts, work-shops and lecture-seminars different cit-

ies of Poland: Warsaw, Belastok, Wroclaw, Walbrzych

and Katowice.

May, 2014 – Women chanters’ choir “Ialoni” partici-

pated the concerts of folk song and sacred chant in the

cities of Hajnovka, Bialystok and Mikhailova as part of

the “Hajnovka Orthodox Music Festival” and was

awarded ‘Distinguished’ diploma.

21-30.05.2014 – Ensemble “Kartuli Khmebi” was on a

concert tour in Baltic Countries: Estonia, Lithuania and

Latvia

State Academic Ensemble of Georgian Folk song and

Dance “Rustavi” was on concert tours in:

01-04.05.2014 – Wiesbaden, Germany “May Festival “;

06.05.2014 – Ingolstadt Germany, joint concert with

“mbH” Ingolstadt Concert Company;

30.05-04.06.2014 – Dublin, Republic of Ireland “Ships

Festival”.

State Folklore Centre of Georgia realized a number of

interesting projects (more detailed information at

www.folk.ge )

Prepared by Maka Khardziani

Foreign ethnomusicologists

Simha Arom

The guest of our headline is Simha Arom – re-

nowned French ethnomusicologist, Docteur D’Etat at

Sorbonne University (Paris), Emeritus Director of Re-

search at the French National Centre for Scientific Re-

search (C.N.R.S.), Head of the Department of Ethnomu-

sicology of the laboratory Oral Tradition –languages

and Civilizations (LACITO) of the C.N.R.S, great friend

of Georgia, admirer and researcher of Georgian tradi-

tional music.

Simha Arom

Simha Arom is one of the few scholars who

haven’t missed a symposium in Tbilisi since 2002 and

determined the scientific level of each symposium with

their participation.

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Since 2006, Simha Arom has been interested in

Georgian polyphony along with his student, Polo Valejo,

another famous Spanish ethnomusicologist. Their work

with the ensemble “Basiani” turned out to be fruitful, as

hey met various folk singers, researched Georgian music

syntax and presented the results of their research on the

symposium.

We are filled with a special gratitude for the love

Mr. Simha and Polo show for Georgian traditional

musical culture and also for the educational work done

by them with the ensemble “Basiani” using lecture-

concerts in Europe. It was with Mr. Simha's initiative

with which a “round table” discussing Georgian-

European parallels concerning medieval music was

organized as part of the sixth annual symposium in 2012,

and it was his authority that made the visit of the famous

researcher of this music professor Susan Rankin to

Tbilisi possible.

In ethnomusicological circles Simha Arom is

known as the researcher of Central African polyphony;

to this music he dedicated one of his most serious works:

“African Polyphony and Polyrhythm: Musical Structure

and Methodology”. As a result of decades of his work

Prof. Arom developed the Method for Interactive Explo-

ration of Musical Scales, allowing the transcription and

analysis of any orally transmitted polyphonic music.

Simha Arom in Africa

The French ethnomusicologist was born in 1930.

Studied at Paris conservatoire, was a member of an or-

chestra in Jerusalem, but he is internationally recognized

as an ethnomusicologist after the Ministry of Foreign

Affairs of Israel sent him to Central African Republic for

intensive field expedition activity by as part of the cul-

tural exchange program, later he took the course in eth-

nomusicology at Paris Sorbonne University and was

awarded the degree of Doctor of Philosophy.

A short story can written about Simha Arom,

how an orchestra musician from Israel became a world-

expert in Central African Pygmy music.

During last ten years Prof. Arom became inter-

ested in Georgian polyphony, he has been an immutable

participant of the International Symposia on Traditional

Polyphony held by the IRCTP of Tbilisi State Conserva-

toire which is a big honor for us, as with this Prof. Arom

confirms his devotion and together with other famous

scholars determines high scientific level of our Forums;

His articles on the syntactic theory of the chords in

Georgian polyphony, which he presents at the symposia

together with renowned Spanish scholar Polo Vallejo, is

the expression of respect to our country in general and to

Georgian traditional music in particular. These two

scholars have travelled to various regions of Georgia,

fruitfully cooperate with ensemble “Basiani” and carry

out the scientific study of Georgian folk music.

Prof. Arom is the author of a large number of

scholarly articles, recordings (CD), books and films re-

ceived prestigious rewards at various times.

In 2011 Simha Arom was awarded Fumio Koi-

zumi Prize for Ethnomusicology.

We are proud that Mr. Simha is a friend of the

International Centre of Traditional Polyphony, and we

want to preserve our sincere relationship with him very

much, just as it has been all along.

Awards: 1971 : Grand Prix International du Disque, Académie

Charles Cros

1978 : Grand Prix International du Disque, Académie

Charles Cros, Mention In Honorem, "Prix du Président

de la République"

1984 : Médaille d'Argent du C.N.R.S.

1985 : Grand Prix International du Disque, Académie

Charles Cros, "Prix André Schaeffner"

1988 : Grand Prix du Disque, Nouvelle Académie du

Disque, ‘Palmarès des palmarès’

1992 : ASCAP (American Society of Composers, Au-

thors & Publishers), Deems Taylor Award for Excel-

lence in Music literature, New York

1998 : Prix Moebius International

Grand Prix Investigation et publication scientifique,

3ème Festival du Film de Chercheur, Nancy

7e Prix Möbius France, Multimédia, Sciences, Cultures,

Éducation

Honorary life member, European Seminar in Ethnomu-

sicology

1999 : Prix Spécial “Cédéroms”, 4ème Festival du Film

de Chercheur, Nancy

2007 : Chevalier des Arts et des Lettres

2008 : 20th Annual Koizumi Fumio Prize for Ethnomu-

sicology (Tokyo)

Prix International de la Fondation Fyssen (Paris)

2012 : Honorary Member, International Musicological

Society.

List of works, Discography and Filmography of Simha

Arom at http://en.wikipedia.org/wiki/Simha_Arom

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Renowned Georgian Ethnomusicologists

Shalva Mshvelidze

Shalva Mshvelidze is renowned 20

th century

Georgian composer, whose operas, symphonies and cho-

ral pieces are distinguished in national character. This is

due to the fact that the biography of the future composer

started in the entrails of his native people- he got famil-

iarized with folk music art at early age, which became

organic part of his life and became object of his admira-

tion and love.

Shalva Mshvelidze

When Mshvelidze was 8, he sang in a choir; for

years his teacher was Ia Kargareteli -great beneficent of

Georgian music; from the age of 16 Mshvelidze sang in

Dzuku Lolua’s ethnographic choir, later he himself cre-

ated folk choirs first in Surami and Gori, later in Tbilisi.

Numerous field expeditions occupy significant

place in Mshvelidze’s biography. He started travelling

around Georgia and collecting folk songs when he was a

student; thus he followed the path of other Georgian

composers of previous time, who studied folk art before

started their own creative work.

Initially Mshvelidze visited Svaneti (1927), he was

the first Georgian composer who got familiarized with

the ancient folklore of East Georgian mountain regions:

Tusheti, Pshavi and Khevsureti (1929). A year later he

visited Kakheti and with the help of the renowned folk

singer Dedas Levana he documented precious examples.

In 1930 Mshvelidze traveled throughout Guria, where he

made friends with Chavleishvili brothers. After this the

composer’s scientific scope encompassed folk music of

Kiziqi, Achara and Meskhet-Javakheti.

During 7 years Shalva Mshvelidze visited almost

all parts of highland and lowland regions of Georgia and

collected a large number of folk materials. He thor-

oughly studied musical dialects of all regions. At that

time Georgian folk music was the topic of his theoretical

research. His folkloristic works suggest very interesting

analysis of folk songs.

Mshvelidze’s attitude to traditional music is clear

from all his creative work, distinguished from this

standpoint is his choral music in which epic-valiant

character of folk songs is expressed by means of the

regularities of folk musical language. Folk music played

crucial role in the formation of Mshvelidze’s choral tex-

ture.

Declamation and singing sources characteristic of

Kartli-Kakhetian folk music are synthesized in the musi-

cal language of his operas. Besides, following Zakaria

Paliashvili Mshvelidze manages to merge the elements

of e.g. Pshavian and Megrelian, Gurian and Kakhetian

folklore in solo parts.

National specificity of Georgian musical style is

also maintained in Mshvelidze’s solo songs. To the in-

fluence of urban folklore, characteristic of his contempo-

rary composers, Mshvelidze opposed song genre of pure

folk style and created classical songs in folk style, to

which testify their titles: “Orovela”, “Tushis

kalebi”,”Svanuri nana”, “Khevsuruli nana” and others.

S. Mshvelidze was the first person to acquaint

Georgian professional music with mountain folklore (the

folklore of mountainous regions). His symphonic poem

“Zviadauri”, his first and best symphonic creation

written in 1940, holds a special place in this field, as it is

entirely based on folk modes. The composer beautifully

transforms the patterns of the musical language of the

mountain music in this score to convey the epic-heroic

spirit of Vazha-Pshavela's poetry.

The melodic, harmonic and rhythmic features of

folk singing in this poem are naturally synthesized with

the European form of music, which makes Mshvelidze's

symphonic poem a unique example of Georgian music.

An archaic Pshav song with an original scale

turned out to be particularly “familiar” for him, which is

nearer to the Phrygian mode among medieval modes. It

is this scale which is sounded in “Zviadauri”, with a low

2nd step and high 3rd and 6th steps, which S.

Mshvelidze has named the “Pshav mode” in professional

music.

S. Mshvelidze's method for working with folk

material should be also especially noted, which Bela

Bartock has called 'the conveying of the peasant

atmosphere into professional music”. The composer

usually doesn't use citation(s), but creates his own

musical material using new combinations of folk

intonations. With this, he creates the illusion of folk

music in professional music. He develops the simple,

limited range of melodics of Pshav singing with the

improvisational manner typical for Kakhetian songs and

creates the aforementioned “folk” illusion in profes-

sional music.

Mshvelidze was first to introduce mountain epos

into professional music and revive its pagan spirit. From

this standpoint particularly noteworthy is East Georgian

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mountain folklore, thanks to which the composer sig-

nificantly enriched and expanded the “lexicon” of Geor-

gian professional music with new intonations and

rhythms.

Part of Mshvelidze’s expedition recordings is pre-

served at the Laboratory of Georgian Folk Music De-

partment of Tbilisi State Conservatoire, another part re-

corded on wax cylinders has been transmissed to digital

media and issued as a collection of CDs “Echoes from

Past” by the International Research Centre for Tradi-

tional Polyphony of Tbilisi State Conservatoire.

Fortunately, the content of these old recordings

has enriched the repertoire of a number of today’s Geor-

gian folk ensembles.

Prepared by Maka Khardziani

In Memory of Kukuri Chokhonelidze

Beneficent of Georgian song-chant

In March 2014 it was ten years after the demise

of Kukuri Chokhonelidze renowned Georgian ethnomu-

sicologist, Head of the Georgian Folk Music Depart-

ment of Tbilisi State Conservatoire for decades.

We would like to remember batoni Kukuri with gratitude

and offer a letter of one of his numerous students-

Marika Ositashvili, dedicated to the teacher.

Kukuri Chokhonelidze

Kukuri Chokhonelidze was a significant part of

life for all his students. I cannot call him only a tutor,

teacher, elder friend and adviser. He was something

other, a bright phenomenon for each of us; he made us

feel Georgia and everything Georgian in a different way,

made our feeling of homeland more violent and familiar-

ized us with the wonderful world of Georgian song-

chant.

Amazing was the depth and range of his ex-

traordinary thinking. I was particularly surprised how

this congenial to me person, found time to think about

everything. There was hardly any key problem in the

history and theory of Georgian song, that he did not have

thought deeply and uttered very original and correct

considerations. No less surprising was the fact that he

was devoid of ambition, he always remained in shade

and directed and carried out the activity of national im-

portance. He directed all his energy, scholarly talent and

thinking towards his students. It was in the relation with

us that he revealed himself as a true researcher. But he

never liked laudation and speaking about himself, he

never allowed us to loudly express our endless gratitude

to him. Only a person with these qualities is high-

minded. This trait of a Georgian man’s nature is bril-

liantly described in Georgian song and chant, where

“we” dominates over “I”. Three-part song is performed

by three voices, three people, but the individual features

of each, their improvisational talent is revealed in doing

common affair, creation of one artistic image. Same is

the case in chant. This amazing phenomenon is clearly

carved in the Georgian genetic code; it was the rule of

batoni Kukuri’s life. For him important was “we” and

not “I”. This is why all his interesting ideas or considera-

tions were embodied in his students’ various works.

He headed Georgian Folk Music Department of

Tbilisi State Conservatoire from 1976. From that time no

distinguished thinker, interesting student stayed beyond

his attention, he was always ready for admonition, and

employed the distinguished students at the Depart-

ment… Thus gradually in front of our eyes Kukuri

Chokhonelidze realized a glorious deed- created Geor-

gian musical-folkloric school. For him, as for a truly Georgian man, his family was of

utmost importance. He was a devoted spouse, father and

grandfather.

We believe that the seeds of kindness planted by

batoni Kukuri and his scientific heritage will greatly as-

sist many more young scholars to be a good Georgian

and to show the stateliness of Georgian song and chant.

Marika Ositashvili

Doctor of Arts

(Journal: Literaturuli Sakartvelo #16, 2004)

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Foreign Polyphony

Trallalero –Genoan Polyphony

Trallalero – is a kind of polyphonic folk music,

from the Ligurian region of Genoa, in Northern Italy. It

is traditionally performed by men, though there are also

some female performers in the modern era. The name is

derived from the monosyllabic vocables: tra-la-la.

In the 1950s Trallalero was nearly extinct; how-

ever American ethnomusicologist Alan Lomax and

Diego Carpitella recorded it. Later Lomax called it the

most significant work in his long and storied career.

Edward Neill worked to revitalize the tradition in the

middle of the 20th century.

Trallalero group consists of tenor, barito-

ne and bass parts, accompanied by a contralto and a

singer whose voice imitates a guitar (chitarra). Nine

singers are considered a normal line-up: one each of chi-

tarra, tenor, contralto, baritone and five basses.

Trallalero in 20

th

Group harmony in Liguria is historically associ-

ated with mountain villages, where two voices (usually a

tenor and a baritone) sang over accompaniment

by bass or drone. The repertoire of traditional songs

evolved over time, and the style moved to the docks of

Genoa, a noted port city. There, metal-workers, long-

shoremen and stevedores, who had come to Genoa from

Ligurian Mountains in search of work and had brought

their songs with them, sang trallalero. Later imitation of

guitar was added as accompaniment to the parts of tenor

and baritone and man’s contralto is presumably bor-

rowed from urban church choir, where top voice is per-

formed by castrates.

Nowadays at the mention of folk music the Ital-

ians immediately think of trallalero. It is surprising that

most people remember the the same song performed by

one group, recorded by Alan Lomax and Diego Car-

pitella in 1954. Apparently, audio impression is so pecu-

liar,that whoever has once heard this song will never

forget it.

Genoan Trallatero

Trallalero tradition is also unique, as the ordi-

nary composition of baritone and bass is reinforced by

the parts of male contralto and guitar imitator; also un-

common is the repertoire (consisting of only about 60

songs) and the area of its dissemination, encompassing a

rather small town of Genoa, in Geonoa - the smallest

region of Ital.

Trallalero singers create a kind of cluster around

the central tone, corresponding to their position during

singing (standing in a circle or sitting at table).

There about sixty “true” melodies in Trallalero

repertoire, most of which are short (about 3 minutes) and

anonymous; the others are created by Bruschettini –a

former student of the conservatoire, Lodero-an organist

and Santoni- a pianist.

The contents of Trallalero songs are related to

drinking tradition and tell happy stories; the thematics of

sea and village life has almost disappeared.

Trallalero singing reached the highest level in

the beginning of the 20th century, when about one hun-

dred such groups sang in the seafront bars of Genoa. The

members of the groups were people of various profes-

sions including bakers and nurse boys. By the 1950s

Trallalero had significantly lost its topicality, it was very

difficult to perform and preserve it. For this it was nec-

essary to maintain old standards and train new singers

simultaneously. The Trallalero repertoire and stylistic

model was revived in the late 1960s.

Luckily, there is a large number of Trallalero

groups in Italy today, which testifies that the tendency of

preserving folk musical traditions is topical all over the

world.

8

One Georgian Folk ensemble

“Sakhioba”

Ensemble “Sakhioba” debuted on the stage on

17 January, 2006. The group was founded by ethnomu-

sicologist, founder of “Anchiskhati Church Choir”,

teacher at V.Sarajishvili Tbilisi State Conservatoire, pre-

centor of Mama Davit Garejeli Church choir in Tbilisi –

Malkhaz Erkvanidze.

The idea of creating an ensemble emerged among

the students of Tbilisi Theological Seminary-Academy.

They created a choir, which existed only for a year and

was known only at the Seminary-Academy, but the then

rector of the Seminary Metropolitan Teodore Chuadze’s

assistance encouraged the students’ enthusiasm. Particu-

larly noteworthy is the contribution of Lia Salaqaia,

thanks to whom most members of “Sakhioba” learned

chanting.

Soon the group was joined by Kldisubani St.

George and Blue Monastery church choirs, and students

of Tbilisi Academy of Arts and several other students

willing to sing and chant. At some point the collective

consisted of 40 members – three artistic groups: choir of

Theological seminary-Academy (directed by Rezo Sha-

nidze), Kldisubani St. George church choir (directed by

Giorgi Gvimradze) and the choir of Academy of Arts

(directed by Rezo Shashviashvili).

Sakhioba’s last solo concert

With this membership the collective performed at

the newly established ArtGeni Festival at Tbilisi Ethno-

graphical Museum in 2004, however even this member-

ship did not last long and Malkhaz Erkvanidze became

official director of the 20-member choir with Rezo Sha-

nidze as co-director, who assisted Erkvanidze in arrang-

ing technical issues.

Presently there are 14 members in the ensemble

and it is called “Sakhioba” (sakhioba is an old Georgian

word meaning music, according to Sulkhan-Saba Orbe-

liani sakhioba is a musical ensemble of instruments, sa-

cred and secular songs (“Dictionary of Georgian Lan-

guage”). At a rehearsal on 17 January , 20106, it was

decided to name the newly-established folk ensemble

“Sakhioba”, because in its members opinion this old

Georgian word accurately denotes their artistic princi-

ples and goal.

“Sakhioba” bases on the experience and artistic

principles of “Anchiskhati” choir, tries to s acquire deep

understanding of traditional song-chant and say its word

in the restoration of Georgian music scale. It aims to:

revive and promote Georgian Medieval chant, promote

authentic performance of Georgian folk music, edit

manuscripts and publish collection of Georgian chants

with CDs, share the knowledge of Georgian song and

chant masters and present it to the wide audience, organ-

ize field expeditions in various parts of the country in

order to restore and revive local folklore, etc.

Sakhioba’s last solo concert

The current membership of “Sakhioba” is as fol-

lows: malkhaz Erkvanidze (director, ethnomusicologist),

Soso Kopaleishvili (theologian, Bachelor of musicol-

ogy), Davit Abramishvili (Bachelor of ecclesiastical mu-

sicology), Tornike Kandelaki (Bachelor of ecclesiastical

musicology), Beka Kovziashvili (Bachelor of ecclesias-

tical musicology), Davit Jamrishvili (artist-restorer),

Giorgi Gvimradze (Magister of Political Sciences, Mag-

ister of Theology), Davit Shukakidze (economist), Davit

Batirashvili (theologian), Vladimer Shonia (Magister of

Theology), Giorgi Dzaganashvili (economist), Vakhtang

Tsetskhladze (Bachelor of ecclesiastical musicology),

Beka Kemularia (manager of culture), Tornike Skhiereli

(Bachelor of ecclesiastical musicology).

The members of ‘Sakhioba” are distinguished in

their unselfish, devoted activity; to this testifies the fact

that the ensemble’s repertoire includes 120 songs and a

large number of church hymns from the collections of

“Georgian Traditional Chant”. During 8 years the collec-

tive has recorded and issued two CDs of church hymns

and five CDs of songs- 2 studio and 3 concert re-

cordings. Traditionally “Sakhioba” holds annual solo

concerts, each time offering renewed repertoire to the

audience. The group is often invited to participate in

concerts and hold work-shops, in different cities, univer-

sities of Europe and USA, they also participate in inter-

national festivals, symposia and anniversary, charity

events, hold seminars and cognitive concerts of song and

chant.

9

The repertoire of “Sakhioba” is based on old ar-

chival recordings from the funds of Tbilisi state Conser-

vatoire, State Folklore Centre, “Golden Fund” of the

Georgian State Radio and Television, National Centre of

Manuscripts as well as the expedition recordings of

Malkhaz Erkvanidze and other members of the ensem-

ble.

At the end of 2014 “Sakhioba” will traditional

solo concert with completely new repertoire, on which

they are currently working. Alongside other projects the

ensemble plans to hold a concert dedicated to Benia Mi-

kadze’s 100th anniversary.

On behalf of the International Research Centre for Tra-

ditional Polyphony we wish further success to “Sakhi-

oba”!

Beneficents of Georgian Song

The Kavsadzes

Many renowned figures of Georgian culture

grew up in Kavsadze family. It can be said, that no other

ancestral family had so many famous musicians as unin-

terrupted tradition.

Grigol Kavsadze – was a clergyman and a good

chanter and singer in the village of Khovle, Kaspi Dis-

trict. Of his 7 children first Sandro and Longinoz contin-

ued musical traditions, then their descendants –Andro,

Mikheil, Higusha, Davit (Datashka) and Nikoloz joined;

anther distinguished member of the family was re-

nowned choir conductor Anzor Kavsadze (born 1930)-

Gigusha’s son; Imer Kavsadze (born 1937), Davit’s son

was a tenor; also distinguished in musical talent is the

reneoned actor Kakhi Kavsadze (born 1935), Davit’s

son.

Alexandre (Sandro) Kavsadze (1874-1939) is

one of the most distinguished figures in Georgian choral

art.

Sandro Kavsadze

He collected, restored, adjusted for stage per-

formance and popularized Kartli-Kakhetian folk songs.

At various times Kavsadze established choirs in Tbilisi,

Gori, Poti, Tqibuli, Cgiatura, Sachkhere, Zestaponi and

Kutaisi.

Recordings made in 1907-1911 have preserved

Sandro Kavsadze’s voice of wide range, of rare beauty,

Kartlian coloring, and several songs and chants per-

formed by his choir.

Mikheil Kavsadze (1880-1951) Longinoz

Kavsadze’s eldest son was familiar with singing from

childhood. After finishing Theological School in Gori he

studied at the Georgian Gymnasium in Tbilisi, where his

teachers were Zakaria Chkhikvadze and Ia Kargareteli.

Mikheil studied West Georgian songs from Pilimon

Koridze.

With Ilia Chavchavadze’s help Mikheil created

a company of friends of Georgian Theatre, at the same

time he sang in his uncle Sandro’s choir.

20-year-old Mikheil Kavsadze created a choir of

15 members, which toured with concerts to different re-

gions of the country, delivered lecture-concerts and

boasted popularity.

Mikheil Kavsadze

Among the members of Mikheil’s choir were

Ivane Javakhishvili and his brother Davit. It is an inter-

esting fact, that at theJavakhishvili’s request Zakaria

Paliashvili recorded the Kavsadzes’ singing on phono-

graph.

In 1910 Mikheil Kavsadze directed three choirs

at a time- workers’, peasants’ and employees’. They of-

ten held concerts in West Georgian cities, villages and

small towns. Several examples performed by these

choirs have survived on the recordings from 1914.

It is noteworthy, that Mikheil Kavsadze pub-

lished articles in the periodicals under different pseudo-

nyms such as Khovleli, etc.

Mikheils’s brother Andro was a brilliant dancer

- a member of the State Ensemble; his other brother Ni-

koloz (Kola) often sang damtsqebi (beginner’s) part in

the choir and also directed choirs in Kartli and Kakheti.

For a long time he was director of the Borjomi House of

Culture. At various times he was a song-master of choirs

in Borjomi, Kareli and Tbilisi.

10

Among the members of Sandro Kavsadze’s

choir was Vladimer /Lado (1886-1953) –Longinoz

Kavsadze’s son, later People’s Artist of Georgia, opera

singer (lyric tenor).

Davit (Datashka) Kavsadze (1907-1952) at the

age of 14 already directed a school choir. From 1929 he

studied at Tbilisi Music School #2, and then at the

Composition Department of Tbilisi State Conservatoire.

Later he continued his moved to Choir Conducting De-

partment. In the same years he himself led groups and

sang in his father’s choirs. In 1937-1939 due to his fa-

ther’s illness Davit had to direct East Georgian Ethno-

graphic Choir. In 1939 east and west Georgian Ethno-

graphic Choirs united as State Ensemble of Georgian

Folk Song and Dance with Grigol Kokeladze as Artistic

Director, Kirile Pachkoria and Datashka Kavsadze as

song-masters, Jano Bagrationi as choreographer and

avksenti Megrelidze as director of instrumental group.

Davit Kavsadze

34-year-old Datashka Kavsadze was conscripted

into the army in Kerch in 1941. There he was taken pris-

oner, but he managed to create a choir of prisoners; it is

known that the repertoire of the choir was recorded in

France, but we have no information about them so far.

Anzor Kavsadze’s mother was a singer too. At

the age of 7 he knew notes and could play the piano.

When studying at the Choir Conducting Department he

directed the choir of Georgian Radio rogether with his

teacher Giorgi Khakhanashvili.

In 1959 Anzor Kavsadze was hired as a conduc-

tor of State Ensemble of Georgian Folk Song and Dance.

During his leadership there were singing renowed Geor-

gian singers: Vano Mchedlishvili, Shalva Kovziridze,

Hamlet Gonashvili, Jemal Tskhvediani, Mikheil Shav-

ishvili… At that time Ilia Zakaidze and Rostom Sagi-

nashvili performed legendary “Chakrulo”, wich was sent

in space.

Anzor kavsadze

Anzor Kavsadze was guided Ensemble of Gurd-

jaani Cultural house for 15 years and Ensemble of Folk

song and dance in Zugdidi for 18 years. He had been on

concert tours in 24 countries of the world.

International Centre of Georgian Folk Song has pub-

lished recordings of Anzor Kavsadze’s Choir.

Thus Legendary members of Kavsadzes’ family

inculcated peculiar plase upon Georgian renowed fig-

ures.

One foreign folk ensemble

An Introduction to Chu-Yin Culture and

Arts Troupe

The oldest performers of Chu-Yin

Culture and Arts Troupe

Tribe of the Amis in Taiwan is well known for

their talents in singing and dancing. They used to sing

across the fields and in mountains; they sang during

work and at leisure. They sang and danced in many oc-

casions in life. However, as machines replaced manual

work, the chances for singing dropped dramatically, and

young generation lost their opportunities to learn the

songs passed on from their ancestors. To revive the song

and dance traditions of the Amis, Ms. Kao Shu-Chuan

established Chu-Yin Culture and Arts Troupe in June,

11

1997. The mission she gave to the group is to reserve the

traditional Amis music preserved by the senior people in

the tribe, and have the young generation well learned

and pass on the songs chanted by their ancestors. Be-

cause of research needs, I was introduced to Mrs. Kao in

2000. She and her group provided me a great resource

for study, and I am pleased to offer her another perspec-

tive to view her own culture in return.

Under the lead of Ms. Kao, the Chu-Yin Culture

and Arts Troupe has grown to be a team of about 80

members of different ages. Leading singers are still the

senior because of the complexity and mastery of singing

skills. Through their piercing voices, the old tribal life is

once again brought to live. With the help from the ad-

ministration team (mainly the middle-aged), young peo-

ple learn much from the senior. They are main dancers

when the group performs on the stage.

In the past few years, the Chu-Yin Culture and

Arts Troupe presented the Amis songs and dances they

recollect in the form of musical plays. New plays were

introduced almost every two years. They have per-

formed not only on the island, but also in other countries

such as America, New Zealand, Mexico and Malaysia,

and have earned a reputation. Two music CDs were pub-

lished in 2001 and 2004 respectively. In the year of

2011, published was “A Rolling Age - Farmer’s Songs in

Malan” - complete presentation of the great Amis music

collected and studied by Ms. Kao Shu-Chuan and Prof.

Lu Yu-Hsiu in five years, in which the once lost Amis

farming songs are included. This publication was nomi-

nated at the 23th Golden Melody Awards, and is a good

documentary resource.

In 2013, a music album “Searching for Polyph-

ony” was produced by Prof. Lu with the assistance from

Ms. Kao, in which the Amis songs from 9 villages were

performed by the best singers of the time for the possi-

bilities of future study in different Amis singing styles.

Articles from top scholars are included to provide more

in-depth guidance to the music.

Yung performers of Chu-Yin

Culture and Arts Troupe

Through annual performance and continuous

education of young generation, the Chu-Yin Culture and

Arts Troupe does its best to carry out its mission. They

also pray that the beautiful ethnic group music, espe-

cially polyphony, can be passed on as it was throughout

the long history.

Centres of Georgian Science and Culture

State Silk Museum

In 1887 young Russian scholar and naturalist Ni-

kolay Shavrov founded a sericulture Centre in Tbilisi.

Shavrov had spent several years abroad studying silk-

worm breeding. The knowledge and experience obtained

in Europe, as well as valuable collections he had brought

with him Shavrov contributed to the Silk Museum and

Library.

The sericulture Station in Tbilisi was built by Tbi-

lisi-based polish architect Alexandre Shimkevich- the

author of a number of architecturally distinguished and

stylistically diverse public and residential buildings, in-

cluding V. Sarajishvili Tbilisi State Conservatoire and

Shota Rustaveli Theatre.

The Museum funds include herbariums of differ-

ent mulberry-tree species, inventory applied in sericul-

ture, butterfly collections domestic things and musical

instruments: panduri, chonguri, chuniri made of mul-

berry tree and known to often have silk strings.

State Silk Museum

A large cocoon collection of over 5 000 species, as

well as hand made and manufactured silk thread, textile;

plant, animal, mineral and chemical tints from different

countries and various parts of Georgia are also part of

the Museum fund.

The Museum periodically organizes exhibitions,

training courses, carries out educational programs for the

popularization of silk.

12

One such educational program implies close coop-

eration with the Educational System of Georgia. Pupils

are taught how to look after, feed and take care of silk

worm under domestic conditions.

From 1997 to 2005, the museum hosted five inter-

national symposia dedicated to artistic textiles. As a re-

sult of a long-term partnership, information about the

existence and importance of the museum spread to many

countries in the world; the National Silk Museum is a

member of the European Textile Network (ETN) and

main address for European textiles in Georgia.

The museum cooperates with painters and cura-

tors involved in many fields of contemporary art. Differ-

ent projects are undertaken and many exhibitions are

held.

On May 7th, 2014, exhibition (“Blood on Silk”)

of Australian visual artist Fiona Davis was opened at the

National Silk Museum. This is the first exhibition in this

museum that relates to the possibilities of unusual use of

silk.

The purpose of one of the oldest museums in

the world dedicated to silk is to emphasize and popular-

ize manufacturing and many possible applications of

silk.

Foreign Performers of Georgian Folk Song

Trio “Kavkasia” (USA)

Trio Kavkasia in Tbilisi, 1995.

Photo by Gia Chkhatarashvili

Trio “Kavkasia” was formed in 1994 by Alan

Gasser, Stuart Gelzer, and Carl Linich. All three had

been singing in America's Kartuli Ensemble, but they

decided to pursue Georgian singing more deeply. In their

twenty years as a trio, they have recorded three compact

discs, travelled extensively in Georgia doing field re-

search, performed at numerous venues in North Amer-

ica, and delved into the question of Georgian scales and

tuning. In 2002, at the first International Symposium on

Traditional Polyphony at Tbilisi State Conservatoire,

Stuart Gelzer presented a paper summarizing the work

the trio had been doing, and their attempts to understand

Georgian scales. While it drew no firm conclusions, it

was very well received, and has led to further discourse

with both native and foreign scholars of Georgian po-

lyphony. For their work in popularizing and preserving

Georgian folk songs, each of the trio members has been

honoured as a Silver Medal Laureate by the Georgian

government, Carl Linich is also the recipient of the

President's Order of Merit.

In January of 2014, Trio Kavkasia performed a

series of concerts to celebrate their 20th anniversary,

with performances in New York City, Washington DC,

and Philadelphia, also at Yale and Princeton Universi-

ties. The Georgian Ambassador to the United States,

Archil Gegeshidze, spoke at their concert in Washing-

ton, DC. The trio would like to thank everyone who has

helped them over the years, especially the teachers,

scholars, and song masters they have learned from.

The trio's web site is: kavkasia.com

13

“Anchiskhati Church Choir” in Poland

“Anchiskhati Church Choir” participated in

“Traditional Festival of Sacred Music” in Poland on 25

April-3 May and held solo concerts in various cities of

Poland. Here is the interview with Davit Shughliahsvili

one of the members of the group.

-Who invited you to Poland and which events did you

participate in?

- “Anchiskhati Church Choir” was invited to the festival

of sacred music in Bielsko-Biala; the festival was held

for the 18th time. Vladimer Reshetov from Lithuania,

who had twice invited us to Riga, helped us organize the

participation in the Festival.

Concert in Bielsko-Biala

-Which other cities did you perform in?

-Alongside Bielsko-Biala Anchiskhati Choir held two

concerts in Krakow and Częstochowa with the assistance

of Nikoloz Nikiolozishvili, Ambassador of Georgia in

Poland, who connected us with Mr. Pshemislav Notsun,

Head of the newly-founded Association “Bridge with

Georgia” in Krakow. This person, who is in love with

Georgia, was a precious discovery for all member of the

group. Mirian Khukhunaishvili, Georgian conductor

who continues his studies in Krakow was also very help-

ful. He organized our concert at St. Catherine Church,

where our repertoire consisted of Georgian folk songs

and several sacred chants. The concert was led by Jo-

anna Zeber, who has passed the course of Georgian folk

music at Tbilisi State Conservatoire.

Concert in Krakow

-How did the audience welcome Georgian choir?

-About 700 listeners attended our concert in Krakow,

like Bielsko-Biale. It should be mentioned, that the con-

cert date coincided with the birthday of the Krakow-born

Pope John-Paul II, consecrated as saint; in connection

with this many cultural events were included in the pro-

gram; but apparently the interest of the Poles to Geor-

gian culture is so big, that our audience was still fairly

big. Special mention should be made of the Polish lis-

teners’ big interest to and enthusiastic appraisal of our

culture.

-Did they show interest in your CD collections?

-Yes, they did, many of them purchased our new CD

“Nadi”, released for our 25th anniversary concert.

-Had they known you in Poland before?

-This was not the ensemble’s first visit to Poland; in

2002 we participated in the festival ‘Song of our Roots”

in Jaroslaw.

-Did you have a meeting with Georgian Diaspora?

-Mostly in Krakow; we were invited to the wine cellar

“Krakow Slow Wines”, where together with the hosts

we met Georgian students from Krakow; we tasted deli-

cious wine and sang, our hosts willingly joined us in

singing.

Concert in Czestochowa

-Is there a folk ensemble of Georgian folk songs in

Poland?

-A small group of Georgian amateurs has been created

by Mirian Khukhunaishvili in Krakow, it was with them

that we sang at the afore-mentioned meeting.

14

-Did you hold work-shops?

-Not this time, though we may think about this for the

future, as the interest to Georgian song is fairly big in

Poland.

-What kind of repertoire did the Polish audience like

most?

- At the concert in Bielsko-Biala our repertoire consisted

mostly of church chants, though we also sang 6 folk

songs; which pleased the audience. At Krakow and

Częstochowa concerts we sang mostly folk songs.

For years Anchiskhati choir offers the audience

different naduri as the crown of the concert. At the end

of all three concerts in Poland we also sang naduri,

which were met with particular enthusiasm.

-Has anything been planned for the future?

-With this visit to Poland we ‘broke’ the long-term in-

terval in the history of our tours. Polish people’s favour-

able welcome greatly inspired us; this was reinforced by

the hosts’ suggestion to organize similar tours in future.

-Thank you very much and wish you success!

Interviewed by Maka Khardziani

Ancient Folk Instruments

Santur

One old and very original musical instrument

always attracts special attention of the visitors at the

State Museum of Georgian Folk Song and Musical In-

struments. This is Santur.

Santur is a stringed instrument, on which the

sound can be produced with several techniques: fingers,

plectrum or mallets. It can be played seated or walking.

Similar instruments with minor differences and same or

other names are encountered in many countries of the

world.

There are few considerations on the creation and

etymology of the instrument.

According to one the name Santur is the modifi-

cation of the Byzantine ”psalter” (Greek “psalterion”):

psalter- santer-Santur. According to another, Santur was

an ancient Indian instrument called shata-tantri veena.

In ancient times veena denoted string instrument and

shata-tantri - multiple strings in Sanskrit. The other

name of the instrument Santur, meaning multiple strings

in Persian (santar - 100 strings) could have been intro-

duced to India via Persia. Yet another source tells that

the ancestor of Santur was created in Mesopotamia,

from where it disseminated to different oriental coun-

tries.

Santur on the Svetitskhoveli fresco

As for the history of Santur in Georgia, this in-

strument was first mentioned in Sulkhan-Saba Orbeli-

ani’s “Travelling in Europe”, thus we can presume, that

Santur was known in Georgia in the second half of the

17th century. The instrument is also mentioned in a num-

ber of Georgian literary monuments of the 17th-18

th cen-

turies.

Santur was first depicted on a fresco at in

Svetitskhoveli cathedral. The history tells that the inte-

rior of the Cathedral was covered with frescoes in the

17th century.

Some scholars hold the opinion, that the Geor-

gian equivalent for Santur is Sapsalmune. Gregory of

Nyssa’s notice on Sapsalmune also confirms this:

“psalmuni is a musical word and hymn dedicated to the

Lord; its name comes from the instrument called Sap-

salmune. This is why other written texts not sung with

the accompaniment of this instrument are not called

psalmuni”. When describing the instrument Athanasius

of Alexandria notes: “Sapsalmune is a ten-string musical

instrument”. The fact that the instrument had 10 strings

is also confirmed in a psalm: “Chant to the lord with ten-

string Sapsalmune”.

In one of the translations of “Old Testament”

Sapsalmune is translated as Lyre; other equivalents of

Santur such as Ebani, Knari and Changi are encountered

in dictionaries. Ebani is ancient Georgian multiple-string

instrument, known from pagan times, it was a part of

instrumental ensemble, and its function was to accom-

pany singing and chanting. Almost the same function

was attributed to lyre, which was first mentioned in the

5th century literature. Another ancient musical instru-

ment is Changi, which must have been of two kinds:

large, to be placed in front of the player and small to be

held in hands. Supposedly, large Changi is considered as

an equivalent of Santur.

15

Santur at the State Museum of Georgian

Folk Song and Musical Instruments

Here arises the question: if all these terms de-

note the same instrument is there any need for so many

names?

Knari and Changi are foreign words. Knari cor-

responds to the Jewish kinnor and Armenian knar,

changi – to Persian chank. Knari should have become

known in Georgia upon the introduction of Christianity,

more precisely upon the translation of holy books into

Georgian; inculcation of Persian etymology in Georgian

literature and life can be explained by the influence of

the translations of Persian write. As for Santur- the name

of this instrument became in Georgia in the 17th century.

Thus, out of similar instruments disseminated in

Georgia only Ebani and Sapsalmune correspond to it.

The names Santuri, Knari and Changi should have been

introduced and inculcated with the translation of foreign

literature.

Santur is still traditional and very popular in-

strument in many countries Iran, Greece, India, Iraq and

Arabic world.

Iranian Santur is the instrument, for both en-

semble and solo performance. It is played at high society

gatherings. In olden times Santur was used as a sort of

healing means; doctors advised patients to listen to San-

tur, which would bring them peace and heal from dis-

ease.

In India Santur is regarded as the accompanying

instrument for Kashmir folk music. “Sufana Musiqi”-

religious, mystical-philosophical ritual hymns are also

played on it.

In ancient Greece Santur was played in the ensemble

together with other musical instruments. It was also

played at various public celebrations and weddings,

when the groomsmen went to take the bride from her

parental house.

The material preserved at the State Museum of

Georgian Folk Song and Musical Instruments also con-

firm its use at the battle field, where its function was to

inspire and encourage tired soldiers.

According to other data, Santur was dissemi-

nated in Kartli, which like Rachan Gudastviri was used

to accompany recitative song.

Sadly, the tradition of playing the Santur is lost

in Georgia today.

Ekaterine Shoshiashvili

Employee at the State Museum of Georgian

Folk Song and Musical Instruments

About one Genre

Naduri songs

Gia Bagashvili

Work songs, nourished with ancient beliefs take

roots in the depth of centuries. In the 7th century B.C.

King Sargon of Assyria paid attention to the high level

of farming of the people residing on the territory of

modern day Georgia, and to the fact, that they cheered

up their farming activities with songs”. Foreign mission-

aries- Italian Arcangelo Lamberti (came to Georgia

in1630) and French Jacques François De Gamba (came

to Georgia in 1820) provide extensive description of the

field work traditions, including singing and express their

amazement with the voices of performers and strength of

their lungs.

Of the songs accompanying farming activities

particularly noteworthy are naduri songs.

Nadi – the village gratuitous help of neighbours

in hoeing, reaping, harvesting, house-constructing is an

old-Georgian tradition, usually ending with a feast.

16

Nadi is a group of relatives and neighbours, who

gratuitously help the host in field work. Sometimes peo-

ple from neighboring villages also join nadi; the host

would offer three meals as compensation for the help.

Nadi was invited for various purposes: sowing millet,

wheat and corn, hoeing corn field, weeding, bringing

wood and other construction material from the forest,

picking grapes, scotching and spinning wool. Singing

occupied particular place in nadi, the number of helpers

was determined by singers, amounting to 8-12 or some-

times 30-40 people.

Naduri is a collective name for the songs per-

formed during nadi. They are basically encountered in

West Georgia, in East Georgia the term “nadi” has sur-

vived only in Hereti (Saingilo). In Kakheti and Kartli

this form of help in reaping is called mamitadi, mushani

or rig-riga.

Particularly large is the number of songs per-

formed in corn-field; these are often referred to as

qanuri; they are two- or three-part, sometimes even four-

part. Four-part Gurian and Acharan naduri songs are

particularly difficult to perform, they were traditionally

sung by two groups. In Achara such form of perform-

ance is called gadabmuli. There exist data about three-

group performance of naduri.

Three-part naduri was called pirdapiri naduri,

and four-part songs - gadabrunebuli. It is noteworthy

that the fourth voice part usually joins in the second half

of the song. In four-part songs the voices are as follows:

one damtsqebi (mid part), one gamqivani, tsvrili or kri-

manchuli (top part), one or more shemkhmobari (spe-

cific voice between bass and mid part) and one or more

bani (bass). Shemkhmobari is melodically most re-

stricted, it is a prolonged sound sometimes with short

melodic phrases and glissandos in cadences. Shemkhmo-

bari plays particular role in the uninterrupted develop-

ment of the work process, maintenance of the general

pitch in the song, supporting sound- “so that the pitch

does not run up” 9 (however, sometimes even

shemkhmobari cannot hold the song, as the competition

between singers and increase of emotional tension

pushes up the supporting tone). In three-part sections of

naduri songs shemkhmobari has the function of bass, but

after joining of base-parts (in four-part texture) it bears

lesser stable harmonious function and bases on the fifth.

Original names of naduri voice-parts are en-

countered in Imerti: dvrini, dabali, bani, krini, maghali

khma, pitskhi, shedzakhili, damdzakhneli, kapia, gam-

tani. In Imeretian naduri songs krimanchuli is rarely en-

countered, here it does not reach as high level of devel-

opment as in Guria.

Traditionally mtkmeli starts naduri, leads the

main melody and tells the text of the song. The other

parts sing on interjections, separate vowels and syllables.

Each part has definite function, which, in whole,

creates rather regulated and, at the same time, complex

polyphonic tissue.

Naduri song start slowly, then stanza becomes

shorter and the tempo accelerates. Both the singers and

workers follow in the rhythmical movement of hoes.

In Achara if two families had nadi at the same

time, one family would invite singers and the other- chi-

boni player; who would lead nadi all day long and play

the tunes corresponding to the speed of work. In Chvana

Gorge of Zemo Achara sometimes a doli player was in-

vited together with chiboni player.

There are many kinds of naduri songs. Most of

them are called after the places of origin (e.g. Sajavak-

hura, Shemokmedura, Chochkhatura, Guriantula,

Bailetura), others are called according to peculiar form

of performance (Jikura- attacking the field, Gordela – a

short naduri, gorda /literaly short sabre/). Names of

some examples come from the beginning of first verses

(Mtas khokhobi aprenila, Qaranai qanashi, Beri katsi

Chachnaberi, Vai tu dilas kurdghelma, Kali viqav

aznauri). Most naduri songs are sung on glossolalias

/meaningless words/ (rasha, rashavrera, dielo, odoia,

epoia, adila, vaidila, rimtiri, etc).

It was preliminarily determined when and which

naduri was to be sung. A cycle of naduri songs was per-

formed early in the morning, before starting work a stick

was driven in the ground at the edge of the corn field.

When the sun reached the zenith the shadow of the stick

disappeared, they would start singing noon naduri. The

host would bring food, called zarmeli (samkhari) in

Guria. Zarmeli was followed by corresponding songs; a

short naduri was sung in the evening. Naduri was sung

so energetically that it was heard kilometres away.

Women also sang naduri. “Khertlis naduri” is

related to female labour, more precisely to scotching and

spinning wool, (“khertali” kherltari – spindle). The ver-

bal text of the song is humorous verse on love theme.

The spinner-women competed during nadi.; they even

danced during break. It is interesting; that the melody of

women’s “Khertlis Naduri” is similar to that of men’s

reaping songs. One of the variants of “Khertlis Naduri”

is performed by men today. This may be the echo of

joint female-male labor in the past.

There are many variants of naduris in different

parts of Georgia. Their abundance indicates to the long

history of the genre in Georgia. The scholars suppose

that the origin of naduris dates back to B.C.

Naduri is the beauty of Georgian work songs.

The four-part examples, with complex musical drama-

turgy encountered in Guria and Achara can be called

‘work symphonies’. It can easily be said, that with struc-

ture and original musical language, naduris are the

crown of the world people’s work songs.

Gia Bagashvili

Ethnomusicologist, Doctor of Musicology

17

History of One Song

Chochkhatura

Chochkhatura is a Gurian work song, performed

in corn field when hoeing or weeding corn by the

neighbors helping a family in work. Singing cheered up

the working process and provided fast completion of the

many-days-work.

Avksenti Megrelidze

The work song Chochkhatura originated in the

village of Chochkhati and spread throughout all Guria.

The presented variant, performed by K. Jijeishvili, I. and

T. Gujabidzes, M. Chaknelidze, I. Vasadze and P. Mika-

shavidze, was recorded by Avksenti Megrelidze in

Supsa in 1927-1928 (the manuscript is preserved at the

archive of the State Folklore Centre – S ##902 - 903).

In his remark dating in 1947 Avksenti Me-

grelidze writes: “Naduri significantly differs from other

ordinary folk songs in terms of performance and mem-

bership of performers. Here the tuning of voices is com-

pletely different, for instance bass part is absent; each

group of singers is as follows: damtsqebi (one singer, as

a rule), tsvrili and krimanchuli (also one singer, as a

rule) and shemkhmobni (two singers). The latter which is

as if bass part, in most cases sounds higher than

modzakhili and tsvrili, is not at all mobile and is sung on

one sound from the beginning to the end.

Damtsqebi and krimanchuli, on the contrary, are very

mobile, first group advances, the other invariably repeats

whatever the first group “says”.

Avksenti Megrelidze recorded Chochlhatura

from Gurian peasants, although he had known the song

since childhood and even sang krimanchuli in it. ‘If

someone wants to study Gurian folk songs, he should

first get familiarized with Gurian naduri songs, which

represent entire symphony, Each naduri consists of 20-

24 different stanzas, so brilliantly bound to each other,

that even a skilful composer would be jealous….. It

should be said, that naduri does not impress the listeners

in the concert hall as much as it does during the work

process in the corn field. Naduri is the fulcra of Gurian

folk songs, no other song is as complex and interesting

as Naduri”- Megrelidze writes.

It should be said that, like the folk songs of other

genres- inseparable from the rural mode of life, Naduri

has also lost its function and is no longer performed in

the corn field. This is why its performance on the stage

is the only way for its revival and popularization. Luck-

ily today Naduri songs are included into the repertoire of

many folk ensembles, Chochkhatura among them, al-

ways received by the burst of applause both by Georgian

and foreign audiences.

Prepared by Maka Khardziani

Chochkhatura recorded and transcribed by Avksenti

Megrelidze is taken from the book “Georgian Folk

Music from Avksenti Megrelidze’a Archive” (com-

piled by N. Moistsrapishvili, Tbilisi, 2005)

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Editor:

Maka Khardziani

Translator:

Maia Kachkachishvili

Computer services:

Maka Khardziani

Levan Veshapidze

Lela Makarashvili

© International Research Center for Traditional Polyphony of the

V. Sarajishvili Tbilisi State Conservatoire, 2014.

eISSNN2346-7614

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Next issue will be published in December, 2014